'What ever happened to breakdancing?' : transnational b-boy/b-girl networks, underground video magazines and imagined affinities

In 1997, Paul Gilroy was able to write: "I have been asking myself, whatever happened to breakdancing" (21), a form of vernacular dance associated with urban youth that emerged in the 1970s. However, in the last decade, breakdancing has experienced a massive renaissance in movies (You Got Served), commercials ("Gotta Have My Pops!") and documentaries (the acclaimed Freshest Kids). In this thesis, 1 explore the historical development of global b-boy/bgirl culture through a qualitative study involving dancers and their modes of communication. Widespread circulation of breakdancing images peaked in the mid-1980s, and subsequently b-boy/b-girl culture largely disappeared from the mediated landscape. The dance did not reemerge into the mainstream of North American popular culture until the late 1990s. 1 argue that the development of major transnational networks between b-boys and b-girls during the 1990s was a key factor in the return of 'b-boying/b-girling' (known formerly as breakdancing). Street dancers toured, traveled and competed internationally throughout this decade. They also began to create 'underground' video documentaries and travel video 'magazines.' These video artefacts circulated extensively around the globe through alternative distribution channels (including the backpacks of traveling dancers). 1 argue that underground video artefacts helped to produce 'imagined affinities' between dancers in various nations. Imagined affinities are identifications expressed by a cultural producer who shares an embodied activity with other practitioners through either mediated texts or travels through new places. These 'imagined affinities' helped to sustain b-boy/b-girl culture by generating visual/audio representations of popularity for the dance movement across geographical regions.

Letter - E.C. Schmon to Arthur A. Schmon, 21 July 1916

The letter describes Eleanore Celeste's time away with her brother. She has spent her time canoeing, playing golf, dancing and plans to attend the movies. The next day is a sailing trip to see Plymouth Rock. The next week she will be in Connecticut and then home.

Letter - E.C. Schmon to Arthur A. Schmon, 24 July 1918

This letter mentions an outing to the Mt. Prospect Movies to see Forbes Robertson in "The Passing of the Third Floor Back". This letter is labelled number 132.

Letter - E.C. Schmon to Arthur A. Schmon, 28 July 1918

She reflects on her time with Arthur the year before and asks him to take a leave at Xmas if the war has not ended by then. Eleanore Celeste has been to the movies to see "Pershing's Crusaders".

Letter - E.C. Schmon to Arthur A. Schmon, 16 September 1918

Eleanore Celeste mentions that planes were performing stunts and bands were playing so they made their way to Branch Brook Park to see the New Jersey State Militia Reserve. She also mentions plans to go to the movies and see "The Queen of the Sea" starring Annette Kellerman.

Letter - E.C. Schmon to Arthur A. Schmon, 31 August 1918

Eleanore Celeste writes about her outing to the movies. She talks about their wedding and asks whether they can have a "double right marriage". She describes friends who have been married recently and both the bride and groom wear rings. She also mentions that Colonel McCormick had tried to call her, but she wasn't there to speak with him.

Letter - E.C. Schmon to Arthur A. Schmon, Saturday P.M.

The letter was written after the two were married; it is addressed "Hubbie". She mentions shopping for flooring for their home in Shelter Bay. She also went to the movies to see "The Eyes of Youth" starring Clara Kimball.